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50
A La
Prince Dimitri, at the head of his company of soldiers, returns to the village where his
peasant sweetheart awaits him.
THERE must surely, by all the laws of compensation be a substantial reward for sincerity. And if there is, then undoubtedly the film "Resurrection" will be not only a satisfaction to the dead Tolstoy but, for Director Edwin Carewe's benefit, a neat thing at the box office as well.
For it is seldom that an entire movie production is pervaded by such a definite atmosphere of sincerity of purpose as this one is. Every one connected with it had an unswerving desire to transmit the original "Resurrection" to the screen intact. Every one had a reverential appreciation of the story's greatness, and a sense of the privilege of screening it. If out of such a spirit a great picture does not evolve, it is only because there's something strange and rotten in Denmark.
Years ago — to catch the film "Resurrection" at its inception — Edwin Carewe was a leading man both on Broadway and in road shows. One of his most frequent roles was that of Prince Dimitri, the quasi hero of "Resurrection." It was his favorite part. The subtle humanness of the character and the power of the story always gripped him. Now, Carewe has become one of the most successful' directors in motion pictures, and for some time he has been playing with the idea of bringing "Resurrection" to the screen. But, afraid that the theme might not be done justice under the official . supervision of a big organization, he did not attempt it until he started
Rod La Rocque skillfully portrays the great tran s formation the young prince undergoes as a result of suffering and dissipation.
The film production of the "Resurrection," made with Uya Tolstoy, promises to that even the dead Tolstoy
By Margaret
was the formulation of plans for the picturization of the great story, and he prayed that he could accurately convey to the screen public the "Resurrection" that Tolstoy wrote — not a denatured cinema version.
His first move was a trip to the East to seek the aid of Count Ilya Tolstoy, son of the author. He hoped to persuade Count Tolstoy to return to Hollywood with him, to see that the story was interpreted as his father had meant it. This hope proved rather more difficult to accomplish than Carewe had anticipated. Count Tolstoy — almost inaccessible on his Long Island estate — evinced a lively distaste for anything connected with the movies. He frankly regretted that his father's famous work was to be screened. Only after much persuasion did Carewe prevail upon him to meet him in New York for a brief interview.
The interview was brief. Mr. Carewe is a dynamic gentleman. Within half an hour, he had not only convinced Tolstoy of his complete sincerity regarding the filming of "Resurrection." He had, as well, fired the count with his own enthusiasm — to the extent that the latter actually consented to return to California with him and work with him on the film !
In Hollywood, Tolstoy and Carewe together prepared the screen adaptation of the story, sacri
producing independently. His first step as a director-producer
Katusha, the peasant girl, is banished from the home of her benefactress. Dolores del Rio is seen as Katusha, and Vera Lewis as the outraged benefactress.